Camille T. Dungy is author of Suck on the Marrow (Red Hen Press, 2010) and What to Eat, What to Drink, What to Leave for Poison (Red Hen Press, 2006), a finalist for the PEN Center USA 2007 Literary Award and the Library of Virginia 2007 Literary Award. She is editor of Black Nature: Four Centuries of African American Nature Poetry (UGA, 2009), co-editor of From the Fishouse: An Anthology of Poems that Sing, Rhyme, Resound, Syncopate, Alliterate, and Just Plain Sound Great (Persea, 2009), and assistant editor Gathering Ground: A Reader Celebrating Cave Canem’s First Decade. Dungy has received fellowships from organizations including the National Endowment for the Arts, The Virginia Commission for the Arts, the Dana Award, and Bread Loaf. She is associate professor of Creative Writing at San Francisco State University.

Other poems by Camille T. Dungy in Verse Daily:

Books by Camille T. Dungy:

Other poems on the web by Camille T. Dungy:
Twelve poems and two full readings
"The Blue"
"Like Love"
"Ark"
"They Win the Upper Hand"
"soldier's girl"

Camille T. Dungy's Website.

Camille T. Dungy According to Wikipedia.

About Suck on the Marrow:

"Camille Dungy’s important new collection, Suck on the Marrow, explores the lives of African Americans in the 19th century, illuminating parts of slave and free black experience that are often overlooked. Plainspoken and unflinching, these poems enter the interior landscapes of the characters’ psyches to examine the nature of desire and longing and loss. With restraint and wry wit, Dungy shows us these things underscored by ownership and commodity. Foregrounding the stories of people for whom fewer records have been left, Suck on the Marrow offers us a fuller view of our collective American experience."
—Natasha Trethewey

"Camille Dungy's Suck on the Marrow exhumes a troublesome history through imagery and focuses us in the modern psyche. The metaphors are so apt and concrete that we not only witness and experience slavery within an artful frame, but also with all the nerve endings exposed. This collection embraces the act of imagining acutely, whereby imagination becomes almost an action. In fact, Suck on the Marrow plots a path back to the Southern soil, to common people, back to a double-binding pathos of pain and beauty through language."
—Yusef Komunyakaa